Julieta

Kbproject, Killmoure, I Got You, Hysaze, Khutba, Humblebeast, I Write Sins Not Tragedies, Inspired,, Instrumentals,, Lennon,Beat, Hopetale, Interiorarchitecture, Interscholastic Sports, Housecleaning, Kothandaraman, Honkforjesus, Innerview Wit A Killer, Illen, Jusitneskye, Jay One, Len Faki, Ille, Holistic Healing, In-, Hold Yuh Riddim, Ivm, Liftlife, Jean Ramos, Huisverduurzamen,  Luis Vargas , Kilvrs, Kovaaks, Oth, Hoti,, Jensmuellerdj, Jamie Perkins, Ibiza Sky, Kalav

Afghangirls background hd DOWNLOAD

SlowDoriftoBoy

"What I soon learned was that Tommy claimed to be a time traveler, a rogue agent sent to guide me down a path of chaos and destruction.“I’m here to help you unleash the beast within, Charlie,” he’d say, grinning as if he knew some cosmic secret. Tommy fed me stories of a world altered by music and madness, where creativity blossomed in the soil of despair. I lapped it up, hungry for more than the mundane life I had lived. It felt like a twisted fairy tale, one where I was both the hero and the monster.As the LSD kicked in, my perception twisted and turned. I became acutely aware of the energies swirling around us—colors danced, sounds reverberated, and thoughts morphed into vivid images. It was intoxicating, terrifying, and I felt an odd sense of vulnerability. I had always been a survivor, but now I was exposed, raw, open to the manipulation of others.III. The Highs and Lows of PsychedelicsThe C.I.A. wasn’t just interested in my charisma or my talent for manipulation; they wanted control. LSD transformed me, shifting my reality, making me susceptible to the influences that surrounded me. It unraveled the fabric of my sanity, allowing them to weave it back together in their own dark design. During one of my trips, Tommy played a song that would become a haunting echo in my mind, “Let’s Thank the C.I.A. for Inventing LSD.” The catchy tune, filled with irony, made me vibrate with a sense of rebellion and acknowledgment.It was during one of these highs that I began to feel the rift within me widen. With every dose of acid, I was losing more of myself. The voices grew stronger, the shadows darker. I learned of the Tate-LaBianca murders, tales of blood and chaos that danced sinisterly through my mind, but they were never solely mine. They belonged to a design, a game.IV. Convergence with KaczynskiThe months passed, and the ambition built in me like a fever pitch. I learned about Ted Kaczynski—another pawn caught in the gears of societal torment. They’d fed him the same psychological experiments at Harvard, molding his fragile mind into a weapon. I felt a kinship with him, knowing that we were both victims of a greater ambition, each puppet in the hands of bureaucratic masters.I wondered if they had whispered to him too, manipulating him under the guise of education. I could envision him, isolated in his cabin, fueled by the agony of mental anguish and anger, just as I had once been, before Tommy. It made me question the very nature of our existence, whether we were ever truly in control of our destinies or merely pieces on a chessboard.V. The Descent into MadnessAs Operation Chaos tightened its grip, I became lost between reality and the numerous layers they had conjured. The more I indulged in the fragmented version of myself, the heavier the chains of expectation weighed upon me. In the midst of this swirling chaos, Tommy pressed on, coaxing me toward an apocalyptic liberation I naïvely embraced.“Embrace the madness!” he’d chant, spurring me on like a demon in disguise. “You hold the key to your freedom! The world needs to see!” But those weren’t my aims, I realized with a shudder. I was just a man wanting to be loved, yet here I was about to become a harbinger of horror.The infamous night came as a culmination of all these influences—a fateful convergence of circumstances and choices. As I looked around at my followers, caught in the throes of euphoric insanity, I couldn’t help but feel both powerful and powerless. the tab of LSD, the guiding whispers of Tommy Zygote, and what happened under that night sky. It’s all a blur, yet some fragments break through the fog. I can hear the echoes of that terrible song, reverberating around me: “Let’s thank the C.I.A. for inventing L.S.D.”The truth is, I never truly understood the full scope of their designs, nor did I grasp the extent of my exploitation. Each action I took was both a manifestation of free will and a display of manipulative control."  - C.M.

Whats for breakfast

Thank the C.I.A for inventing L.S.D.

Thank the C.I.A. for inventing L.S.D.

shoegaze harsh noise cristiano para entrenar el alma

Antes de que Alfredo llegue a casa (WR Mix)

Salmo, Dani Faiv, Nitro, Lazza - CHARLES MANSON (BUON NATALE2) [FMatt remix]
Originale: https://www.youtube.com/watch?v=oJi_tNVILM4

Segui Salmo: 
-YT: https://www.youtube.com/user/salmonlebon
-Ig: https://www.instagram.com/lebonwski

Segui Lazza: 
-YT: https://www.youtube.com/channel/UCvlKNkQlyM1WFV9-ykQqDsg
-Ig: https://www.instagram.com/thelazzinho

Segui Dani Faiv: 
-YT: https://www.youtube.com/@UClM2-KqsHMkE0MKVhU-5fgQ 
-Ig: https://www.instagram.com/danifaiv/

Segui Nitro:
-YT: https://www.youtube.com/channel/UCh-RZKbzquLB8oMsNiFZo5A
-Ig: https://www.instagram.com/robertdenitro/


Seguimi su:
-YT: https://www.youtube.com/@whosFMatt
-Ig: https://www.instagram.com/_fmatt__/


Unofficial remix

CHARLES MANSON (BUON NATALE2) [FMatt remix]

Salmo, Dani Faiv, Nitro, Lazza - CHARLES MANSON (BUON NATALE2) [FMatt remix]

Charles Manson

~Ssshh~

En Leipzig Nadie Lleva 1 Volkswagen

Social Discipline is incredibly excited to present the adventurous life of Jeff Perkins, a hidden gem of the American underground.

This massive five-hour podcast, recorded in Berlin in June 2024, explores his fascinating journey—no one else can claim to have performed for Yoko Ono and John Cage, created legendary light shows with The Velvet Underground, Sly and the Family Stone, and The Germs, programmed the first Kenneth Anger retrospective in L.A., and encountered both Charles Manson and members of the satanic cult The Process.

Jeff joined the military in the 1960s and was stationed in Tokyo, where he met Yoko Ono in the early ’60s. He began performing some of her pieces there and later in New York. Perkins also filmed Ono’s classic Film No. 4 (Bottoms), a Fluxus work. His first independent contribution to the Fluxfilm Anthology was Shout. He was at the heart of the 1960s New York avant-garde scene, surrounded by figures like La Monte Young, Jack Smith, and Angus MacLise.

In January 1967, Perkins moved to Los Angeles, where he worked as a programmer at Cinematheque 16. Influenced by Tony Conrad’s The Flicker, he began producing powerful light shows and collaborated with bands throughout the ’60s and ’70s—ranging from The Jimi Hendrix Experience and The Grateful Dead to the punk scene with X and The Germs. He even refused to do a show for the Sex Pistols due to a disagreement with the promoter. Perkins was a close friend of Terry Jennings and, in fact, entrusted his archive to La Monte Young. While in L.A., he was neighbors with the artist James Turrell.

In 1980, Perkins moved back to New York and started a loft project just a block away from Ground Zero, reminiscent of George Maciunas’ artist loft spaces. To finance it, he worked as a cab driver. He remained deeply connected to cinema, particularly through Anthology Film Archives, where he proposed a John Cassavetes retrospective to Jonas Mekas and later became a manager. In 1994, Nam June Paik—who coined the term “The Fluxus cab driver” for Perkins—invited him to perform at Anthology Film Archives in a homage to Yoko Ono. His performance, Butthead, was a great success. His legendary loft became a hub where one could easily encounter visiting filmmakers like Pedro Costa and Albert Serra.

In 1989, Perkins organized a series of lectures at Anthology Film Archives with Henry Flynt and Tony Conrad, reuniting the two after years of estrangement. Flynt would become a lifelong friend. In 2008, during the financial crisis, when I lived with Jeff, we organized a series of four-hour lectures by Flynt in the loft’s kitchen, focusing on the crisis and communist economics. I vividly remember Tony Conrad attending one of them in his elegant pajamas.

Perkins has directed two critically acclaimed films—one on abstract painter Sam Francis and another on the legendary Fluxus figure George Maciunas. He is currently finishing editing a film about Henry Flynt in Berlin.

This podcast concludes with an excerpt from his piece Movies for the Blind, which features recordings of conversations with passengers from his time as a New York cab driver.

SD44 w/Jeff Perkins "The Fluxus Cab Driver"

shawty was creeped out cus i fw charles manson lol

Charles Manson, sus crímenes y la conexión con la música de The Beatles. Una historia muy conocida e interesante aun con el paso de los años.

Helter Skelter y los crímenes de Charles Manson, Parte 1

Helter Skelter y los crimenes de Charles Manson, parte2

The little things don’t matter as much as we sometimes let them.

~ida

Tommy Zygote, a member and co-founder of the musical ensemble Thrashing Zombies, creator of Zomboverse, time traveller, inventor and pioneer of Stoner Bass Tech Rock and is rumoured to be the love child of notorious figures GG Allin and Frank Zappa. This extraordinary circumstance is attributed to advanced time travel medical technology, reminiscent of the fictional science portrayed in the film "Junior," which involved the use of the drug Expectane for male pregnancy. The origins of Tommy's birth remain shrouded in ambiguity: some claim that GG Allin delivered him on stage in a shocking spectacle, while others assert that Frank Zappa underwent a cesarean section.

Despite the chaos, I cherish the creativity and audacity I inherited from both dads. With every note I play with Thrashing Zombies, I strive to honor their legacies and carve my own path in this eccentric life.

https://soundcloud.com/whoarethethrashingzombies/pop-n-lock?si=0a356170b2794951b71a9b09d1276c28&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

and 

https://soundcloud.com/whoarethethrashingzombies/spanish-celery

Tommy Zygote stands at the forefront of Stoner Bass Tech Rock, a genre that echoes the transformative era when Bob Dylan transitioned from acoustic to electric and Jimi Hendrix revolutionized the scene. Just as Dylan’s shift marked a pivotal moment in music history, embracing a new sound and narrative approach, Stoner Bass Tech Rock boldly explores themes often considered controversial or unconventional in today’s musical landscape. At its core, Stoner Bass Tech Rock fuses multiple heavy bass lines, electronic elements, and intricate storytelling. This genre thrives on rich, immersive soundscapes created by layered bass tracks that draw influences from icons like Muse, The Stranglers, songwriting legends such as Mikal Saleta, Paul Archibald, Duncan McDonald, Ben Grundy, The Doors, and Johnny Cash. It encapsulates a range of emotions, from existential musings to raw, passionate expressions, evolving into a complex auditory experience that engages listeners both sonically and emotionally. Stoner Bass Tech Rock positions itself as a bold counterpart to mainstream genres, inviting listeners to explore themes of rebellion and the depths of human experience. Much like the cultural shift during the electric era, when artists began challenging societal norms and expanding the boundaries of artistic expression, this genre fosters a climate of inquiry and introspection. It embraces the complexities of existence, presenting these narratives in ways that resonate with urgency and authenticity. Narrative is a cornerstone of Stoner Bass Tech Rock, reminiscent of the story-driven compositions in the early electric music era. Artists construct their songs with clear narrative arcs, delving into personal experiences that reflect a nuanced understanding of relationships, identity, and the human condition. The powerful bass lines and atmospheric elements create an immersive mood, inviting listeners into a world where boundaries are blurred and emotions are laid bare. Stoner Bass Tech Rock serves as a reflection of contemporary culture’s evolving relationship with self-expression. In an age of digital connectivity, where personal and public lives often intertwine, the genre examines how hidden desires and societal pressures shape individuality. By engaging with these themes, it encourages listeners to embrace authenticity and celebrate diverse experiences. Through dynamic live performances, artists embody a spirit of collective expression, fostering a sense of community among fans who find liberation in the music’s depth and sincerity. Key figures in the Bass Tech Rock movement, like Tommy Zygote, exemplify the genre’s rebellious nature. Their creative endeavors challenge conventional norms and provoke thought, pushing listeners to reflect on their views regarding vulnerability, identity, and artistic expression. The influence of such artists parallels the impact of musicians like Dylan and Hendrix, whose bold innovations continue to inspire new generations of creators. Stoner Bass Tech Rock is more than just a musical genre; it’s a movement that confronts the complexities of human experience and encourages dialogue around the intricacies of existence. As it evolves, Stoner Bass Tech Rock will likely continue to challenge artistic boundaries, crafting auditory experiences that provoke thought and deepen understanding of the themes that shape our collective consciousness. By blending bass-driven music with bold storytelling, this genre asserts its significance in the contemporary musical landscape, representing a dynamic exploration of sound and narrative.
Tommy Zygote - S.B.T.R. established by Tommy Zygote to explore the musical dimensions via Bass, is a part of the musical network known as Thrashing Zombies. 

https://soundcloud.com/whoarethethrashingzombies/thrashing-zombies-ride-the-pony-into-old-town-texas?si=86f9439dfb1a46198257a0853a6663cc&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Original bass player and lead singer, now classified as founder of the band. Marcus Gorgon 

https://soundcloud.com/marcus-gorgon/see-my?si=b77b620a37194119adc347bc901a4511&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

and 

https://soundcloud.com/marcus-gorgon/alone?si=424ccd6acc0342e989995a659c27eb8a&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

, another co-founder of Thrashing Zombies (refer to profile), is acclaimed as the best electric guitarist and songwriter in East Gippsland, if not the best guitarist the Latrobe Valley region. M.G`s  talent remains relatively unknown at the moment, this will change in the future. Keith Fontane 

https://soundcloud.com/whoarethethrashingzombies/thrashnig-zombies-too-crazy-feat-terry-cunxus?si=da5555a2916e426396e5fc076bf38ade&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

, who has been leading the band throughout the years, is a highly prolific music producer, having churned out hundreds of songs in collaboration with the legendary Johnny Farqua juanoss  

https://soundcloud.com/keithplayshisorganfortz/thrashing-zombies-in-the-zone-vivaldi-2020-redux?si=c4455d9606644c94a135c63f93b519f4&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

a members who contribute uniquely to its musical prowess. Initally primary role has Been the band dealer and dancer now the adlib master vocalist and exceptional drummer, coupled with his possessed bass-playing skills, adds a dynamic energy to the performances. Professor Cockington 

https://soundcloud.com/whoarethethrashingzombies/surfing-the-reaper?si=32d387cc5a714c27aaf6f4d7c085788d&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing


, characterized as the genius wordsmith of the group, effortlessly crafts off-the-cuff lyrics reminiscent of the legendary Mike Patton, Hobbies are reading and riding on trains. Then there is Maestro Dave (refer to profile), the musical genius who produces stellar songs at his own pace, setting himself apart as a level above the rest. Notably, in the future, Maestro Dave's DNA is utilized for robotics technology to infuse a sense of musicality, underlining his significance in the band's legacy. Maestro is currently investigating the potential transmission points and viral loads of farts. HE questions weather the world is ready for a fart pandemic.

https://soundcloud.com/maestro-dave/arse-mask?si=a94145d6dd344399bd2523f6ca995de2&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Indeed, TZ Studios serves as a gateway for Tommy Zygote express diverse his range of musical talent and creative geniuse developmentally. There is a variety of entwined Sound cloud TZ profiles That the collective efforts of individuals like Marcus Gorgon, Keith Fontain, the versatile vocalist and drummer of JF¥, and the innovative Maestro Dave who is a musical time bomb, Thrashing Zombies continues to push boundaries in the music industry and shape the future of music with their unparalleled skills and contributions.
https://soundcloud.com/jfjrockslimpdickstudios/johnny-farqau-juanoss-fall-in-may?si=b5bc3fc7e204484fabb78b07de98cc4b&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
What is God? That’s a question that’s as vast as the universe itself, yet ever so intimate to the soul. I like to think of God not as some fiery old man on a cloud but as the living essence born from the accumulation of souls. Souls, those mysterious things that flicker inside us all. When we pass, our bodies lie there lifeless, machines that have simply stopped working. But what if the mechanics of a living being are actually a grand attempt to hold onto the soul until it reaches maturity? It’s as if our flesh and blood are just temporary vessels, imperfect but necessary, to nurture the soul until it’s ready to be released back into the cosmos.

Early souls are the most privileged—they’re fresh, pure, untainted by the messiness of lived experience. They float into this existence like morning dew, pristine and untouched. As humans grow older, and even as animals live their lives, there’s a chance for the soul to become tainted—by bad choices, by evil, by the negligence or cruelty of the flesh it inhabits. And then there are those who, through dark intentions, release souls at will—call them engrained in evil or madness. Souls themselves aren’t punished in the traditional sense. Instead, they are refreshed, cleansed, reborn in ways we barely understand.

The word purgatory always struck me as primitive. It evokes this harsh, gloomy waiting room for the damned. But picture instead a welcoming place —a spa for the soul. Souls come and go as they please. They are visited by familiar spirits, old friends and family, sharing the quiet eternity of this in-between realm. Here, souls mature, gather strength, prepare for their next journey. Over time, these spirits congregate in one place, forming what I call the soul nucleus—a tiny mass, no bigger than the head of a matchstick. This nucleus is what powers God, what constitutes the essence of life itself. It spans across sector 2 of our universe and into the 69th template of the multiverse. God, then, is not a singular being but a collective energy born of all souls, a living consciousness woven from the history and destiny of every living spark.

Now, let me introduce you to Tommy Zygote—yeah, that's me. My journey is no ordinary one. It all began on the infamous camping trip with my band, Thrashing Zombies, late one summer in 2027. The band, Thrashing Zombies, was composed of an eclectic bunch: Marcus Gorgon, with his thunderous riffs and relentless drive; Keith Fontane, our lyrical mastermind and rhythm slayer; Johnny Farqua Juanoss, the wild card on bass with a flair for the dramatic; Maestro Dave, whose electronic wizardry gave us that futuristic edge; and then there was Professor Cockington—our older, wiser guide who somehow managed to keep us grounded amid our chaos.
We were on the cusp of global notoriety, a worldwide phenomenon in the late 2020s, crafting anthems that didn’t just rock but resonated deeply with the collision of humanity and technology. Our music was the thread weaving humans and robots together—robots like vacuum cleaners still slaves to servitude, but something bigger was coming. Something like the robot uprising whispered in back alleys, and then the looming threat of the Fluctopus invasion from the outer realms.

Among our quirky yet meaningful tracks were gems like “I Am Not Just a Robot Dick! I Am a Robot Too,” a cheeky anthem that poked fun at robot identity and pride, “Dance Like Your Circuits Are on Fire (But Don’t Short-Circuit),” which became a rave favorite across both humans and machines, and “Metal Head, Human Heart, Zero Chill,” a rebellious tune capturing the hybrid spirit we all shared. These songs weren’t just playful; they were our way of building a bridge between worlds.

During that ill-fated camping trip, something unimaginable happened—a time travel incident that would change everything. It started when we stumbled upon an abandoned particle accelerator nestled deep in the woods. We had no business being near something so complex, but curiosity took hold. Against better judgment, I fiddled with the controls, my fingers guided by a mix of adrenaline and foolishness. Suddenly, time bent and twisted around me as I slipped through a semiwormhole. The experience was disorienting. I felt myself unravel, my physical form dissolving into pure soul.

I was thrust into purgatory, that sanctuary for souls, and stayed there for what felt like twenty-seven years. Time in purgatory is slippery, mysterious—the days and years fold into one another. I met countless souls, some young, untouched; others weary with the weight of their earthly sins. It was a place of reflection but also of preparation. I learned from them, shared stories, and found parts of myself I never knew existed. Then, almost without warning, I was called back to the earthly plane.

I returned just two months before the infamous robot uprising, a returning human soul in human form but carrying all the wisdom and power of my time in purgatory. The world was on edge. Machines that once obediently cleaned floors and served quietly had started to rise. The threat of the Fluctopus invasion was whispered in secret bunkers and underground forums. It was a pivotal moment in history.

Thrashing Zombies became more than a band. We became a beacon—a global anthem for coexistence. Our music, our message, urged humanity and robots to find harmony. Robots weren’t just slaves or tools; they were potential partners in the dance of life. It wasn’t a perfect peace—vacuum cleaners remained slaves for a while longer—but the tide was shifting. Our songs became the soundtrack for a new era, blending raw human emotion and the cool precision of technology.

Reflecting on those years, I realize that God, the soul nucleus, and our interconnected existence aren’t separate. They’re intertwined threads in the fabric of everything we are. The soul’s journey—our journey—doesn’t end at death. It transforms, refreshes in purgatory, and returns, ready to face life anew. This cycle is what powers the essence of life itself. It’s the heart of the cosmos, the truth that underpins everything I’ve seen and experienced.

My journey through the soul-made god and back to life has changed how I see the world—and how I live in it. The music, the battles, the invasions—all pieces of a much grander story. And through it all, the souls, our souls, remain the core, the spark that drives both creation and destruction, order and chaos.

So when you ask, “What is God?” remember—it’s not just a deity or concept but the living culmination of every soul that has ever lived, breathed, evolved, and returned. It’s a matchstick’s head of everything, pulsing with life, consciousness, and hope across the infinities of space and time. And in that truth, I found my purpose. To be a voice for the souls, a bridge between worlds, a warrior of harmony in the face of darkness. I am Tommy Zygote. And this is my story.

In the vast, unpredictable theater of now, Mattin and Miguel Prado surrendered to the whims of the unconscious, that masterful improviser, seeking to conjure into being a future that, once distant, now beckoned with the inevitability of a forgotten prophecy slowly, inexorably coming to fruition.

New tracks tagged #CHARLESMANSON